Customer Reviews

Paper Music

5 star:		(4)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Paper Music isn't for purists, but if you're among those of us who believe that mixing the new with the old can be good for classical music, and win new audience members besides, then you might consider hearing Bobby McFerrin's 1995 recording with the St. Paul Chamber Orchestra. In recent years, the artist popularly known for "Don't Worry, Be Happy," has made a name in the classical world, perhaps most notably with Hush, his best-selling collaboration with cellist Yo-Yo Ma. Paper Music witnesses McFerrin in a new role--conductor as well as vocal acrobat. He appears as soloist in only half of the recorded tracks; as John Schaefer remarks in the album's liner notes, this is "very much a conductor's record." From the opening bars of the first track, we sense that McFerrin has not missed his calling. Unafraid to unleash the fire that's in Mozart, he draws a tight, spirited performance of the Overture to The Marriage of Figaro, in which we are struck by the tremendous force of the piece's many rhythmic jolts. Mozart gets further tribute later in the entire Eine Kleine Nachtmusik, a rather uneventful addition to the slew of recordings available of this piece, which is unfortunate considering the sizable percentage of space it takes up on the CD. The only other selections in which McFerrin rests his vocal folds are the Minuetto and Finale from Stravinsky's Pulcinella Suite, and the Scherzo from Mendelssohn's A Midsummer Night's Dream--both faithful performances of these composers at their best. Ultimately, the non-vocal tracks are not the album's selling points, and, admittedly, not being able to see McFerrin conduct, one wonders how frequently to credit him for the sound of the SPCO. Boccherini's Menuet from String Quintet No. 1, arranged for string orchestra, flute, and voice, is the first we hear of McFerrin's "instrumental vocals." I almost felt betrayed when I heard his "second voice" sequenced a third away in the trio section. So much for a "live" performance. Nevertheless I was pleased with the result. It is in the violin concerti by Vivaldi and Bach that we witness the amazing facility with which McFerrin executes ornaments, arpeggios, and other vocal feats. Among the most impressive moments are the stunningly fast Alberti-like passages in the third movement of the Vivaldi, and the long fortspinnung lines sustained in the Bach. Although sometimes McFerrin's voice does not "sing out" to the extent that a violin might (especially in the louder and faster moments of the concerti), we can hardly fault him for that; after all, he's the one that has breached what we thought were inherent limitations to the vocal instrument. Acrobatics aside, the most convincingly musical moments are in the more lyrical selections (one would even say the more "vocal" selections), viz. the middle movement of the Vivaldi, Tchaikovsky's Andante Cantabile, and the highlight of the album, Faure's Pavane. It is in this piece that McFerrin's voice is most suited to its role. Particularly striking is his final note. We can hardly tell where his voice ends and the clarinet begins; the effect is superhuman. Paper Music breaks stereotypes, not only of what the human voice can do, but of who does classical music and how it's supposed to be done. If classical music is to have any impact on today's culture, it must sustain dialogue with it. Thanks to Bobby McFerrin for doing his part. Oh, and if you were wondering what the title means, it's a term used by some African musicians--whose music exists among the people, as performed, as enjoyed, as alive--for the idea that music could be trapped and stored on paper--a peculiar concept indeed.

Amazing...the result of his voice added to some of these scores is so gorgeous. He doesn't overdo it, so that it adds to the music without taking away from it. This is a positive review from a very conservative classical enthusiast who usually doesn't tolerate adding anything to the original score. One of my favorite CD's. I think many children who like to hum to music would also like this CD as an intro to classical music. His conducting of Mozart though wasn't to my taste, try Sir Neville Marriner and the Orchestra of St. Martin in the Fields.

"Paper Music" disappointed me. Very likely, McFerrin (who is renowned for his amazing skill as a vocalist) thinks that he is well versed in conducting, too. In my opinion, by aiming to show his talent as a conductor, he decided to limit his vocal performance. So he only sings in half of the tracks and, besides, he is miserly with his vocal invention. Unluckily, as neither his conducting is very original nor his voice is let free to amaze us, the final result is, on the whole, rather modest.

Classical musicians have always tried to breathe new life into tradtional pieces, always with limited success. That is, until Bobby McFerrin. With the small but vibrant St. Paul Chamber Orchestra, McFerrin combines the worlds best classical pieces and music's most beautiful instrument--the human voice--into a harmonious treat. I had heard the Pavane by Faure many times, before, but McFerrin's vocals in lue of a solo violin adds a totally new demension to the work. Likewise the last piece by Tchaikovsky is beautifully haunting with his vocals. I highly recommend this album to anyone who loves the classics, but admires a contemporary twist.

I listen to artist such as Bootsy Collins, Jimi Hendrix, and Funkadelic. I never listened to classical or even considered it. I just happened to pick up this cd and give it a try. I remember Bobby McFerrin from "Don't Worry, Be Happy" and decided to buy this cd. Man! This cd has added another demension to music for me. I don't know much about classical music but thanks to this cd I plan on learning and listening to much more. This cd kind of has a jazzy essence to it. Its like McFerrin added some of his own jazzy grooves to the classical writings. Bobby McFerrin is a very talented musican, vocalist, and conductor.

This CD is an interesting take on these familiar pieces. I really enjoy listening to it. It is very relaxing.

For anyone interested in an introduction to some of the most beloved pieces in the classical orchestral repertoire, this album provides beautiful examples of an outstanding orchestra being conducted by a vibrant, sensitive and energetic composer.

McFerrin is known more as a jazz vocalist, but here, he brings a fire and emotion to the compositions featured that is rarely seen in other recordings or performances of the same pieces. The selection of pieces featured is outstanding, with some of classical music's most important short pieces included.

Then there is the side of Bobby McFerrin as classical musical INSTRUMENT. I'm not sure how I feel about this part of the project. While he uses his voice in the manner of flute, clarinet and strings, and it is often difficult to distinguish between the voice and the other instruments, there are moments of harsh transition in the voice of McFerrin that distract from the overall loveliness of the recording.

Often McFerrin is heard gasping for large breaths, and this is heard strikingly above the rest of the orchestra. This distraction would have been easily eliminated in the editing of the recording, and is my main concern.

I enjoyed but was disappointed by this CD- It highlights McFerrin's abilities as a conductor. I looked to this music to hear him as a vocalist. Do not let my disappointment detract from this excellent work.

I was first familiar with Bobby McFerrin as the "Don't Worry, Be Happy" guy, but he is also an extremely talented classical musician, both conducting the Saint Paul Chamber Orchestra and vocalizing some of the instrumental parts on this CD. Whether singing Faure, Vivaldi, Bach, or Tchaikovsky, McFerrin "becomes" a violin or cello, demonstrating his amazing vocal range and virtuosity. The pieces without his vocal addition are also a delight, due to McFerrin's skillful interpretation of these classics. I love this CD!